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Why BBC’s documentary ‘India’s Daughter’ is not a usual case of artistic freedom

By Ishan Kukerti

The ghost of 2012 Delhi Gang rape is here to haunt the nation again, making people cringe and boil with a sense of angst at the same time.

The government’s decision to put a restrain on the documentary is hardly a surprise but not totally unjustified. The state has played its part, and done that pretty fine. Although the case is pending in Supreme Court, out of the six accused, four are on a death row, one has committed suicide and one is in juvenile prison. For the government, the film is giving fuel to a fire and it has put it out the best way it could, within its capability.

The Justice Verma Report and the subsequent Criminal Law Amendment Ordinance 2013 are proof that the problem lies not with the state but the society. When a red faced Rajnath Singh says that the government is going to take action against BBC, then he is talking more as a member of a shamed society whose shortcomings are being rubbed into the face, than a statesman who is on a banning binge.

Freedom of speech, really?

This is not a usual case of freedom of speech or artistic freedom. Rape is a very sensitive issue and can’t be dealt like any other issue under the umbrella term, Freedom of Speech. The point is, will the film bring a change, serve a purpose?

There have been a lot of documentaries and films about the increasing rape culture in India along with other pressing issues relating to women in the past which have come and gone without occupying any substantial space in the media or people`s thought processes. None has resulted in the decline of rape cases or even the initiation of a dialogue at the ground level. Sex is still a taboo in India and what is required is a need to start a dialogue, free and meaningful.


The Big Sister calls

The buzz created around India`s Daughter is majorly because it’s a BBC production and can be considered as a third person`s perspective. But has Leslee Udwin done justice to the subject of a universal social evil, by narrowing down her study on a specific yet in no way insignificant atrocity? Could her inquiry into the matter, as an international commentator been more holistic if she had taken a broader worldwide view, included the tussle between genders and an underlying primordial animal behavior in such cases, be it in Steubenville or France?  The documentary seems to be looking for a black cat in a room with lights turned off.  Or just saying that there is a black cat in the room.

According to a BBC survey, 230 women are raped in UK everyday and less than 1 in a 100 people gets convicted for the same. Yet Leslee Udwin`s decision to give voice to her sisters, so territorially and culturally removed from her seems weird, almost resembling a white burden of some sort. Maybe the brutality of the rape had attracted her imagination, which is well explored in the film. But isn’t this falling into the downward spiral of sensationalism in Journalism? Choosing an event more shocking than others ( yet in no way the most shocking, she could have found even more pathetic realities here or elsewhere) based on its content quality?


Solution, precipitate or nothing at all?   

But the BBC television director Danny Cohen has said that the film, ‘ Has a strong public interest of crating awareness about a global problem.’ and the inductive logic of the documentary gives some strong causes to rape as a phenomenon, like changing economy, patriarchy and social deprivation, but the solutions it brings to the discussion are quite generic and not unprecedented ‘ should bes’

like education and changing people`s mindset. More than a critical inquiry into an ignominious social evil, the film is a multi-narrative of the blood curding incident on December 16, 2012, which certainly makes the head hang but doesn’t bring anything concrete to the table. Shame has never deterred a criminal from a crime nor has repetition changed perceptions. The interview with one of the main accused in the case is proof enough how difficult it is to change someone`s view point. However the film has undoubtedly reinforced viewer`s opinion by giving it an authoritative BBC kind of voice.


Will the Indian society or the world at large learn anything from the heart rendering reality of Nirbhaya? Will it make those who need to introspect, wait for a moment in their lives and think again?

The documentary is a definite reminder, a shocker, that the world has yet not forgotten about Nirbahya, even though most people have moved on to other issues, to different pandals at Jantar Mantar. In the end the relevance of the film can only be established on the basis of weather it incites frustration or leads to a constructive dialogue in the society.



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